Pretentious Yet Pointless
The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The world of colour and space of Sol Aris's previous works are clearly visible here, but completely altered. Sol Aris has not described the price of this sketch. Such forms, serene and powerful, create strong gestalt sensations. The artist does not use a rectangular grid to define the colours, which therefore float free. In the Suprematist works, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. Such forms, intensely modulated, create strong gestalt sensations. In the Suprematist vision, the visual phenomena of the physical world are, in themselves, meaningless: the only worthy thing is feeling, as such. The here and now experience of size and perception in this sculpture, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place...
Sol Aris has not supplied the price of this sculpture. The artist avoids a rectangular grid to shape the colours, which can by this means stand alone. The embellished canvas indicates not completely concrete.
In this drawing Sol Aris delineates the relationship between spring and autumn. A deep underlying meaning of this particular prototype is that it is the sensuality of extinction. Sol Aris has not completed the aspect ratio of this image.
This piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the world of spring and autumn where the essential identity to the piece is a reflection of the artist's soul. An interesting aspect of the image is that it is a reflection of the artist's soul. It is important to understand that the idea behind post-impressionistic art is that it encourages the viewer to understand form in terms of area, rather than mass.
The viewer is drawn by the scale and openness of the drawing into the world of invaluable cultural relics.
In this piece Sol Aris depicts the relationship between dark and light. Such forms, both monumental and poetic, create a strong interplay of forces.
It is useful to note that the major feature of the Suprematist works is that it encourages the artist to define the composition in terms of space, rather than weight.
The artist uses a limited canvas to restrict the colours, which therefore subsist in a world of their own making.
``Paradoxically, this work, which has such an assertive and fascinating physical presence, simultaneously undermines its physical reality by the way in which it reflects, and thus elides or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]